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protagonist

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Journal Article
New German Critique (2012) 39 (2 (116)): 119–132.
Published: 01 August 2012
... conflicts that finally erupt in the revolution of 1989, the article foregrounds three modes of cultural representation that produce three versions of cultural history. The first, symbolic mode epitomizes the protagonists' conventional understanding of culture as an archive of knowledge and learning that...
Journal Article
New German Critique (2015) 42 (2 (125)): 97–113.
Published: 01 August 2015
... sensibilities of a set of protagonists who no longer care whether they are in step with their time. In The Moment of Love ( Der Augenblick der Liebe , 2004), Final Flowering ( Angstblüte , 2006), and A Man in Love ( Ein liebender Mann , 2008), in particular, Walser presents characters who are politically...
Journal Article
New German Critique (2009) 36 (1 (106)): 1–19.
Published: 01 February 2009
... making his protagonist a matricide, does Littell weaken his effectiveness as a historical witness? Susan Rubin Suleiman 2009 When the Perpetrator Becomes a Reliable Witness of the Holocaust: On Jonathan Littell’s Les bienveillantes Susan Rubin Suleiman...
Journal Article
New German Critique (2010) 37 (1 (109)): 75–98.
Published: 01 February 2010
...Marco Abel The contemporary German filmmaker Oskar Roehler can be considered a “postromance” director whose films obsessively present so-called single-generation protagonists who often blame their inability to maintain successful relationships on their generational predecessors, the 68ers. When...
Journal Article
New German Critique (2012) 39 (1 (115)): 3–26.
Published: 01 February 2012
... a book with profound linguistic concerns. A speaker of five languages—English, French, Welsh, Czech, German—the protagonist has the facility of the ideal twentieth-century cosmopolitan. At the same time, however, he is utterly immobilized by recurring episodes of radical aphasia. Dubow and Steadman...
Journal Article
New German Critique (2012) 39 (2 (116)): 47–62.
Published: 01 August 2012
... to an unpredictable future, seems to have been the Wall itself rather than its demolition. From Özdamar's protagonist's charmed crossings of the Wall in the 1970s to Şenocak's view of Berlin as a permanent building site in the 1990s, Littler examines how their writings cut across the old political...
Journal Article
New German Critique (2014) 41 (3 (123)): 179–197.
Published: 01 November 2014
... analysis of three films and informs the investigation of the wider cultural and historical contexts of the return. Two of the films bring their protagonists to Germany to face the descendants of the perpetrators. The encounter with Germany and German characters initiates an emotional process that may...
Journal Article
New German Critique (2021) 48 (1 (142)): 103–123.
Published: 01 February 2021
... conceptions of life that come into play in the novel (life as career, life as theater, life as gesture) and considers the fate of the protagonist in this light. Seeing the question of inclusion/exclusion as key to Kafka’s novel, the article argues that it exposes the thin line between utopia and dystopia and...
Journal Article
New German Critique (2011) 38 (1 (112)): 39–63.
Published: 01 February 2011
... Nazi past. The complex formal strategies and visceral affective tone of the narra- tive, which underscore the protagonist’s fractured nature, confront and chal- lenge us as readers of this post-Holocaust text. Anne Duden’s Judas Sheep (Judasschaf, 1985) exhibits an unsettling and radical...
Journal Article
New German Critique (2008) 35 (2 (104)): 139–169.
Published: 01 August 2008
.... Leaning heavily on Walter Benja- min’s city walker–archaeologist trope, Nooteboom’s protagonist asserts that the site is “a realm of the dead and of the disappeared.”12 The refusal to acknowl- edge through representation prolongs the continued absence of the dead and forgotten. The Potsdamer Platz...
Journal Article
New German Critique (2015) 42 (3 (126)): 115–143.
Published: 01 November 2015
... curious search for a lost, harmoni- ous serenity out of the city seems to guide Meyer’s actions, Lubitsch portrays the “authentic” Heimat as a mere fantasy of urban culture. The fascination of the careless protagonist with the Heimat is apparently not based on any famil- iarity with the actual...
Journal Article
New German Critique (2007) 34 (3 (102)): 45–60.
Published: 01 November 2007
... externalizations of the protagonists’ interior worlds. Generally fi lmed using low shots and backlighting, the landscape of ruined houses refl ects the frag- mentary remains of the main male character’s identity. Hans Mertens, a sur- geon, wanders aimlessly through the rubble of Berlin as though it were the...
Journal Article
New German Critique (2011) 38 (2 (113)): 1–23.
Published: 01 August 2011
... question is whether Wallenstein, commander in chief of the Austrian emperor’s army, will betray the emperor and side with the Swedes, thus perhaps ending the brutal war in Sweden’s favor. At the play’s conclusion, its eponymous protagonist’s death ensures that the war rages on for another fourteen...
Journal Article
New German Critique (2013) 40 (2 (119)): 167–184.
Published: 01 August 2013
... cannot be taken as solid and final referents. In all these meditations we cannot quite take hold of Mommsen as a character; he is a subject (in several senses of the word), a figure, perhaps a portrait—but not really a protagonist, unless one were to counterpose history itself, in its dense...
Journal Article
New German Critique (2019) 46 (3 (138)): 79–101.
Published: 01 November 2019
...: not-being-needed as self-organization, the organization of one’s own time.” 7 In this way, Geene’s protagonists take a break from contemporary economic imperatives. We see Zach and Aziza neither working nor engaging in customary (consumerist) leisure activities. 8 Yet, while they also reclaim...
Journal Article
New German Critique (2011) 38 (1 (112)): 1–7.
Published: 01 February 2011
... justice.” Parkinson’s contribution, “Aptitudes of Feeling: Ekphrasis as Prosthetic Witnessing in Anne Duden’s Judas Sheep,” explores Duden’s book as a text that both is difficult to read and models a practice of difficult reading. The female protagonist “feels” Germany’s traumatic history as a...
Journal Article
New German Critique (2012) 39 (2 (116)): 1–9.
Published: 01 August 2012
... this novel, nostalgia is not restorative but countercultural. It appears as a form of protest against the depletion of the present that is caused by the depreciation of the past. However, the protagonists’ nostalgic memory culture is not the final horizon of this ethnographic narrative. The...
Journal Article
New German Critique (2009) 36 (2 (107)): 207–230.
Published: 01 August 2009
... differential that emerges through the responses of his male and female protagonists to Richter’s images. DeLillo reminds us that 3. Gerhard Richter, “Gerhard Richter: 18. Oktober 1977,” interview with Jan Thorn-Prikker (hereafter cited as Thorn-Prikker interview), Parkett, no. 19 (1989): 124–65...
Journal Article
New German Critique (2007) 34 (3 (102)): 61–74.
Published: 01 November 2007
... wit- nesses makes this consensus possible: their deaths are its prerequisite. Film and Concepts of History Expressing his enthusiasm for contemporary productions that “portray the main protagonists of the Third Reich,” Frank Schirrmacher writes, “When art manages to express some truth, it...
Journal Article
New German Critique (2016) 43 (2 (128)): 153–176.
Published: 01 August 2016
... by Faust: Part Two, and several critics have identified both similarities and differences between the protagonist of his novella, the North Frisian Hauke Haien, and Goethe’s archetypal modernizer.7 3. Holander, Theodor Storm, 21. 4. Goethe, Scientific Studies, 147. 5. Luke...